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We're pleased to announce the selected artists for a new initiative to celebrate Indigenous art and culture at the Region of Waterloo International Airport (YKF). This project, developed in relationship with the Six Nations of the Grand River, Mississaugas of the Credit First Nation, and urban Indigenous communities in the region, is a significant step in recognizing and honouring Indigenous cultures and histories through public art at the airport. As part of this initiative, three murals by Indigenous artists Jea will be displayed in the Domestic Arrivals Building at YKF. The murals, under the theme "Honouring These Lands and Waterways," will reflect the rich cultural heritage, resilience, and diverse voices of Indigenous peoples. The three artists selected for this project include Jeannette Ladd, an Anishinaabe artist from Saugeen First Nation, Judy Ross Mack, an Urban Indigenous artist of Swampy Cree heritage from Weenusk First Nation, and Cheyenne Ricard, a Haudenosaunee artist of Mohawk and Tuscarora descent. Their work was chosen through a jury process. Get the details: bit.ly/40n10Cw

Every weekend, I share a post on my socials highlighting three pieces of Black-specific content for both of my children. I wanted to give some additional amplification to a powerful piece that stood out to me this week. This one is for anyone reflecting on questions of justice, history, and ownership: Connor Garel’s recent article, “What Should Canadian Museums Do About Their Stolen African Art?” (published in January/February 2024 in The Walrus ), is a must-read. It dives deeply into the long-overdue conversation about repatriation of looted African artifacts and the systems that have kept these pieces out of their rightful communities for centuries. Garel doesn’t just highlight the history of the Benin Bronzes or the systemic failures of museums worldwide. He interrogates the broader question of what it means for institutions, like those in Canada, to continue benefiting from colonial legacies while positioning themselves as champions of diversity or reconciliation. In one of the more striking moments, he reflects on Aimé Césaire’s assertion that museums, in their current form, often represent not preservation but the severing of cultures from their meaning and context. Garel connects this legacy to modern-day inaction, resource challenges for Indigenous and African communities seeking restitution, and Canada’s reluctance to fully address its complicity. As I work to pass on stories of Black resilience, history, and cultural reclamation to my children, I’m reminded of how important it is to question not just what’s on display, but whose stories are being told—and by whom. If you haven’t already, take the time to read Connor’s piece here: https://lnkd.in/grrFa9TW Let’s keep having these hard conversations, pushing for change, and amplifying voices like Connor’s who challenge the systems we’ve inherited. #Repatriation #BlackHistory #CulturalHeritage #Decolonization #AmplifyBlackVoices

The Declaration of the Rights of Man and of the Citizen (French: Declaration des Droits de l’Homme et du Citoyen) is a human rights document adopted in the early stages of the French Revolution (1789-1799). Inspired by Enlightenment Age principles, the Declaration consisted of 17 articles and served as the preamble to the French Constitution of 1791. #HumanRightsDay #France #History #WorldHistoryEncyclopedia

The Chronicle of Georgia: A Monumental Tapestry of History. The Chronic of Georgia or in other words "History Memorial of Georgia" is a large monument, which is suited to the hill. The project started in 1989 by Zurab Tsereteli and it's remains unfinished. Creation and Significance: The monument has 16 pillars. The Chronic covered with detailed carvings that tell the important part of Georgian History. These story start from mythology to when Georgians became Christian and what happened after. Value of the City: Cultural Landmark: The Chronic serves as an open-air museum, which attracts locals and tourists. Education: It enhances the urban landscape, offering an interesting contrast between modern architecture and historical narrative Investment and Community Hub: The Chronicle not only draws in local residents and tourists but also serves as a platform for businesses. It has become a dynamic space hosting a variety of events, from open-air workshops to fashion shows. while the Chronic of Georgia is still under construction, it has already become and iconic representantation of the nation's identity.

The Question of Art Repatriation: From Victor Hugo to Amadou Mahtar Mbow Guillaume Apollinaire’s statement that "works of art are at home in the Louvre" has often been used to justify the presence of artworks in major Western museums. However, this universalist view of art does not consider the issues of ownership and justice that are relevant today. Contemporary history examples highlight the limits of such an approach, reminding us that art is deeply rooted in its historical and cultural context. The theft of the Mona Lisa in 1911 and the looting of the Summer Palace in Beijing in the 19th century perfectly illustrate the stakes involved in the restitution of cultural property. These events reveal a tension between the universalism of art and the attachment of peoples to their heritage. The thief of the Mona Lisa, Vincenzo Peruggia, claimed to want to return the artwork to Italy, thus emphasizing the symbolic importance of these objects for national identity. Today, the question of the restitution of cultural property is more relevant than ever. It is less about returning objects than about righting a historical wrong and recognizing the right of peoples to their heritage. Amadou Mahtar Mbow, former Director-General of UNESCO, emphasized the importance of this return to promote dialogue between cultures and strengthen international cooperation. However, the restitution of artworks raises many complex questions: what criteria should be considered to determine the country of origin of an artwork? How can the interests of museums be reconciled with those of the requesting countries? What are the legal and political implications of these restitutions? Abdoulaye Wade, to whom we owe the magnificent Museum of Black Civilizations, wrote in "A Destiny for Africa" that African artworks are better off in Europe than in Africa! France, which possesses one of the world’s largest collections of artworks, has begun to reflect on these questions. Nevertheless, many challenges remain, and solutions are not always easy to find. It is essential to continue the dialogue between states and cultural institutions to find answers tailored to each situation. As Victor Hugo wrote, "I hope that one day will come when a liberated and cleansed France will return this loot to the plundered China." Today, this wish is shared more than ever by many scholars and policymakers. It is our collective responsibility to ensure that this day comes and that we can promote the circulation of artworks from North to South and invent our new common humanity based on lateral universalism. #Unesco#

Did you know that the Statue of Liberty was originally meant to be a symbol of peace between France and the United States? A few days ago, I had the amazing chance to visit the Statue of Liberty in New York, one of the most famous monuments to democracy and freedom. Standing in its presence, I considered its great significance to the American character and rich past. Originally gifted to France in 1886, the monument has long been a ray of hope for millions of immigrants arriving on American coastlines in the late 19th and early 20th centuries. For many, it was the first sight they saw, signaling the start of a new chapter in the country of opportunity. Despite its obvious form, the Statue of Liberty stands for the fundamental ideas of liberty, equality, and the search for a better life. It reminds us of the need for inclusion and the conviction that everyone should have the opportunity to help create a better future. These principles are more crucial in modern society than they were years ago. Professionals, like you and I, may find inspiration in this monument by embracing diversity, supporting innovation, and generating chances for everyone. Let’s continue to uphold the principles Lady Liberty symbolizes: freedom, hope, and the power of community. What does the Statue of Liberty mean to you? Share your thoughts below! #StatueOfLiberty #Leadership #Freedom #Diversity #Inclusivity #Innovation #LinkedInCommunity The Billionaire 💰 ____________________________________________ Need a social media game changer? My AI-powered training delivers 50% ROI. Book me for corporate workshops at fair prices - DM now!

National monuments: The very term can be confusing. Monuments usually evoke stone statues commemorating historic events or people. But our national monuments encompass not only statues—indeed, the Statue of Liberty is one—but vast and stunning landscapes located both on land and under water, as well as buildings or other sites of cultural and historic significance. Read more: https://lnkd.in/eyEZBzfc

Ah, the fleur-de-lis! It's a beautiful and iconic symbol with a long and fascinating history, deeply intertwined with France. ⚜️ Here's what I know about it: What is a fleur-de-lis? Appearance: It's a stylized design of a lily or iris flower, usually with three petals. Symbolism: It has represented different things over time, including royalty, purity, faith, and the Holy Trinity. Connection to France: 🇫🇷 🇫🇷 🇫🇷 🇫🇷 🇫🇷 Royal Emblem: The fleur-de-lis was a prominent symbol of the French monarchy for centuries, appearing on coats of arms, flags, and other royal insignia. Origins: Its use in France can be traced back to the 12th century, when King Louis VII adopted it as a symbol. Evolution: The design and meaning of the fleur-de-lis evolved over time, reflecting changes in French history and culture. Modern Use: While no longer an official symbol of France, the fleur-de-lis remains a popular and recognizable emblem, often used in heraldry, art, and design. You'll still see it in various contexts, from sports teams to historical sites. Beyond France: Other Countries: The fleur-de-lis has also been used in the heraldry and symbolism of other countries, including Spain, Italy, and England. Religious Symbolism: It continues to be a symbol in Christian contexts, representing the Holy Trinity and the Virgin Mary. Scouting: The fleur-de-lis is part of the logo of the World Scout Movement, symbolizing the North on a compass. If you're curious to learn more, here are some avenues to explore: Heraldry: Study the history of coats of arms and how the fleur-de-lis was used in French heraldry. French History: Explore the reigns of French monarchs who used the fleur-de-lis and how its symbolism changed over time. Art and Architecture: Look for examples of the fleur-de-lis in French art and architecture, from medieval cathedrals to Renaissance paintings. The fleur-de-lis is a captivating symbol that embodies a rich tapestry of history, culture, and meaning. It continues to fascinate and inspire people around the world, serving as a reminder of France's enduring legacy.

In a world where cultural artifacts can be plundered from archaeological sites, whisked away across borders, and then laundered onto the black market within just days or even hours, nations need robust, collaborative strategies to fight back. In our latest Basilinna Institute insight, Deborah Lehr explores how U.S. Antiquities Cultural Property Agreements (CPAs) serve as critical tools for at-risk nations to protect their heritage and preserve their identity. These partnerships go beyond protecting artifacts—they foster international cooperation, strengthen cultural ties, and safeguard history for future generations. Learn why CPAs are essential in combating the illicit antiquities trade and how they benefit nations around the world. Read the full insight here: https://lnkd.in/etgjwQni #CulturalHeritage #HeritagePreservation #BasilinnaInstitute #InsightsByBasilinna

 "The representation of historical and contemporary relationships between settlers and the local Indigenous community is inherently embedded within power relationships and is strategically re-framed as characterized by a reciprocal relationship between two consenting parties. The construction of this narrative of reciprocity is inherently racialized; it is enforced through space and legitimized by the law. Despite the apparent objectives, the CMHR and the tourist development of The Forks remain contemporary colonizing forces through the illusion that this geographical location is somehow “shared land” and their collective projects of unequivocally representing a specific settler history while downplaying the centuries of Indigenous struggle, resistance and systematic removal of Indigenous bodies in this space. This can be demonstrated by the failure of the CMHR to take seriously the concerns regarding the preservation of the Indigenous history and instead literally built a museum atop of historical artifacts with only symbolic consultation with the local Indigenous community. Rather, this land has been taken as if it naturally belongs to settlers and displays one historical narrative: one supposedly representing of human rights and a distinct “Canadianness” literally lies atop of hundreds of years of Indigenous history. Such actions are justified and legitimized through property law that assumes and takes for granted that settlers found and developed the land and still have the authority to do so. . . Ownership and control of the lands that were to become Canada was what grounded colonial hierarchies of class, race, and gender. The creation of the Red River colony at the Forks, like other settlements, did not allow the land to remain a “meeting space” (as Parks Canada claims), nor did it allow for the customary uses of the land continue. Rather, “colonies entailed settlers, and settlers required land, which could only be got by dispossessing native people. A relationship based on trade was replaced by one based on land” (Harris 2004: 169). Indigenous geographies were made invisible and the land was re-placed with colonial hierarchies became entrenched within the land to allow for a nation-building project to unfold. Today, this is witnessed in the CMHR’s vague commitment to ‘preserve and promote our heritage at home and abroad’ and ‘contribut[e] to the collective memory and sense of identity of all Canadians’ (CMHR n.d.). Mandi Gray and Karl Gardner, (In)Visisble Histories: Colonialism, Space and the Canadian Museum for Human Rights" Annual Review of Interdisciplinary Justice Research, 324; 326.